Our very own writing log!

[X-Nightcrawler]

I wanted to see others' opinions about their writing to see how insane I am when compared to other wackos.

So here's the deal. Most of you are screenwriters. How does your writing work before you actually start writing something? Where do you get your ideas? How do you develop them? When you have multiple ideas, how do you chose which one to do first? What do you do once its done? Do you finish everything you start?

Other than that, this is just like a 'general writing' log thread. Scribble up here your writing process, your current/future/past projects, share them if you want.

This might be pretty interesting to see ideas being tossed around, as well as opinions and such.

[MisterTwister]

When i write something i first write down ideas on pieces of paper. I write down the plot, the charcthers and the situations surrounding the plot. I then turn into a script. I haven't written a script in a long time due to "writers block" but i plan on writing a script soon for a x-mas horror flick called "Killer Clause"(working title) about a undead killer santa. Writing is easy,it's dialouge thats a bitch for me.

[X-Nightcrawler]

Originally posted by MisterTwister
Writing is easy,it's dialouge thats a bitch for me. Huh. Tell me about it. I've only lived with english-speaking people for a year when I was in 6th grade. Most of my dialogue in screenplays seems to come off unnatural (although the dialogue in novels seems to be fine).

I used to do the same. I once thought up a concept -which I'd call "In The Mist"- of a group of students getting stranded in the middle of a forest after a bus crashed and ghosts began to appear in the misty woods. Never wrote a word, but that one time I was in my school bus (two years ago) and the idea came, just began digging up my backpack to scribble the idea for further development.

[the dead one]

When it comes to writing I tend to utilize personal experiences, which has helped greatly in creating characters, situations and stories. My current project deals with Vampirism in present day, small town America. Now, I enjoyed films like Near Dark, Blade and John Carpenters ‘Vampires’ and so on. But these films did change certain aspects of the vampire lore, taking a huge amount creative license. In Carpenters film Crosses don’t work, forget garlic pal…but the psychics of sunlight still apply.

My intention has always been to take the vampire back to square one, so ALL the basic rules apply and haven’t changed in my view. As I see it ‘Vampires’ are not romantic figures, but tragic ones. They are the undead and If a vampire were to really exist in our time, they would want to keep a low profile, no ‘Secret’ Hidden Vampire Societies, just a lonely singular existence of feeding off those who wouldn’t be missed.

A vampire would be constantly on the move, not unlike a serial killer, never staying in one place after taking its intended victim. Lets face it, people disappear every day in our world, and we read about it in the newspapers, we see it on the nightly news. So for vampires, societies lost souls like junkies, degenerate killers, prostitutes and homeless people they’re the perfect victims.

[X-Nightcrawler]

Originally posted by the dead one
When it comes to writing I tend to utilize personal experiences, which has helped greatly in creating characters, situations and stories. My current project deals with Vampirism in present day, small town America. Now, I enjoyed films like Near Dark, Blade and John Carpenters ‘Vampires’ and so on. But these films did change certain aspects of the vampire lore, taking a huge amount creative license. In Carpenters film Crosses don’t work, forget garlic pal…but the psychics of sunlight still apply.

My intention has always been to take the vampire back to square one, so ALL the basic rules apply and haven’t changed in my view. As I see it ‘Vampires’ are not romantic figures, but tragic ones. They are the undead and If a vampire were to really exist in our time, they would want to keep a low profile, no ‘Secret’ Hidden Vampire Societies, just a lonely singular existence of feeding off those who wouldn’t be missed.

A vampire would be constantly on the move, not unlike a serial killer, never staying in one place after taking its intended victim. Lets face it, people disappear every day in our world, and we read about it in the newspapers, we see it on the nightly news. So for vampires, societies lost souls like junkies, degenerate killers, prostitutes and homeless people they’re the perfect victims. I'm trying do the same thing with werewolves in my screenplay "Numen".

I started with the most original concept I had, which was "killers guiding their victims through the afterlife" and mixed it with werewolves. Numen came out as "Werewoves enter a plane of reality they call Numen (means "Spirit") to save their victims from damnation." Of course, the plot has changed a lot as I've matured as a writer. First it was a hugely convoluted make-it-as-epic-as-you-can mess that involved a werewolf killing his girlfriend and another werewolf killing his daughter. But the story got too messy. The one I have now, which I'm very proud of is the story of a group of werewolves that kill people disguised as a support group and enter Numen through their kills (Numen also works as a 'soothing' place for the wolf's curses, so they'd want to enter there. Also, if they don't guide a victim through Numen, they'll see this victim everywhere: in their dreams, in the mirror). But they make the mistake of killing the lead's girlfriend. After killing a cult member and entering Numen to save his girlfriend, the cult is after him in both worlds. I'm managing to make it very epic without complicating the plot.

But I'm particularily proud of it because it really is something different. Most werewolf stories out there are hugely similar, and this could be a very fresh breakthrough if I do it right.

[zombievictim]

One thing that I do when I write a script is just start writing the opening scene. Then I come up with more through that scene. I have a short script I wrote entitled "Walking Dead" which started out with a simple morgue scene but turned into something totally different. It had character development and was really realistic. The zombies were always known on the news as "violent protesters".

Sometimes I come up with the plot and then the come up with everything else as I go along. Sure I make sure to know the twists so I can make sure to add them along in the story.

One new thing that I've just started for a script I'm writing now entitled "48", is using a totally different technique. I wrote the plot and now I'm writing what will happen scene by scene. This way I know what I want to happen and everything is well executed which is what I need for this since the story is so complex.

But my prefered way of writing is just coming up with the plot and just writing. Its much easier and thats how I started. The only problem with this way is that its much harder to finish the script. I have about five scripts which are unfinished but, if completed, could be incredible. I guess I just have to give it time...

[Cronos]

i have a few different ways of working (im mainly working on some novels at the moment), sometimes ill come up with a specific idea/scene whether its at the beginning, middle or end of the idea and go from there. at times ill plan the whole thing so i know exactly where its going. i also sometimes spawn ideas after coming up with a name, i get a title in my head and it grows from there

i carry around a notepad and pen so i can scribble down any ideas i come up with whether for a scene or just an idea for a story

generally ive found i dont finish ideas because i get bored with it and move on to an idea i feel is better or get to a point where i dont know where to take it so i go onto something else....with some ideas ill go back to it a few months (or even years) later and go through what i had, make changes to it so its better and this sometimes helps me to add more to the story or even finish it

i have started on a script that i intend to turn into a film which i intend to plan extensively so i know what i want to finish with and so i also know how to write it

[the dead one]

'Write whatever you want, as long as there's a love scene and the girl jumps in the volcano at the end.'
-- David O. Selznick

Good evening gentlemen,

I have to say, there’s quite a pool of creative minded people on this thread. “X”, I like your ‘Werewolf’ concept, highly imaginative stuff there. However, the concept of werewolves in sheep’s clothing (The support group) sounds a bit close to Joe Dante’s ‘The Howling” story device, Dee Wallace’s character Karen White, goes on a retreat after a traumatic brush with a serial killer.

“The Colony” is some sort of support group that turn out to be Werewolves, posing as ordinary everyday folk. Other then that you definitely have the ambition to be writer as it shows in your work. Keep at it, you have the creative exuberance of youth on your side. As do many of you here!

Zombie, I like the ‘Walking Dead’ story, your utilization of the news media misrepresentation of what is really happening hits the bulls eye. Considering the way things are in today’s social and political atmosphere, it only makes perfect sense. I can see the ‘Romero’ influences here; I have always been attracted to stories with strong conflicts and dark turmoil.

Now, there is one constant that I am seeing with everyone here-- I thank God that I am not alone. Each one of us has had run-ins with similar problems in wanting to be a good writer; Cronos mentioned a problem that I can relate to. It happens to all aspiring writers, getting bored mid point of working on a novel or screenplay. What is the solution to this problem? What could be the contributing factors to this problem? Loss of interest could suggest a lack of focus on our part, which can happen I don’t care if your last name is Matheson!

When hitting a creative brick wall it helps to take a step back, take a short break from writing and find another outlet, take a walk, take a shower, read a book, read a movie script of your favorite film. Once you return to your work; you’ll have a renewed fresh perspective on things, it helps to clear the mind when things get too crazy!!!

Trust me, down time helps greatly, even the Pros go through the same bullshit, you’re in good company, hold tight!

One thing I have learned in screen writing is that everything is done in steps; take a look at some of your favorite books or films. It all comes down to STORY! In order to tell a good story we have to follow the rules, it is extremely important to have a ‘Synopsis’. Which is just a brief description of your story, from there you develop a treatment which is a full rendition of the story from beginning to end, minus the dialogue, you’re goal is just to tell the story. A basic treatment should be anywhere from 7 to 10 pages in length, from what I have gathered.

A typical screenplay is broken down into 3 acts, which is something pretty much everyone here is probably more then familiar with. The Crisis, Turning point and the finale. Consider making Acts 1 & 3 about the same length with Act 2 about twice the length of Act 1.

One thing you want to avoid when writing your screenplay, don’t get hung up on camera angles, especially if you’re a first time writer. That is the sort of thing even accomplished screenwriters don't waste time on, that is more or less a ‘Shooting Script’, to describe every shot and camera movement. Leave those kinds of details in the planning stages of ‘Storyboarding’, just focus on telling your story.

Tell your story visually with just enough dialogue to fill in the cracks here and there. Remember that difference: Film is a sequence of visual images; theatre is a sequence of verbal images. Keep your lines of dialogue short. Even in the most play-like of films, dialogue is extremely brief. Make sure to put the Hook in the first few pages of your script, and try to keep your scenes short in length.

Also, 3 pages is a good absolute maximum before you cut to a new location in your script. Use less Subtext, because in film subtext tends to float to the surface of the dialogue much more often. Mainly because Hollywood tends to have a very dim view of the intelligence of its audience, well I hope that I have been somekind of help or inspiration....laters schmoes and KEEP writing! :)

[X-Nightcrawler]

Originally posted by the dead one
'Write whatever you want, as long as there's a love scene and the girl jumps in the volcano at the end.'
-- David O. Selznick

Good evening gentlemen,

I have to say, there’s quite a pool of creative minded people on this thread. “X”, I like your ‘Werewolf’ concept, highly imaginative stuff there. However, the concept of werewolves in sheep’s clothing (The support group) sounds a bit close to Joe Dante’s ‘The Howling” story device, Dee Wallace’s character Karen White, goes on a retreat after a traumatic brush with a serial killer.

“The Colony” is some sort of support group that turn out to be Werewolves, posing as ordinary everyday folk. Other then that you definitely have the ambition to be writer as it shows in your work. Keep at it, you have the creative exuberance of youth on your side. As do many of you here! That's a good point, the 'cult' of werewolves has been done before (we've all seen "An American Werewolf In Paris") but I'm pretty confident that this is. . . not derivative. I don't like to share much details about something that isn't finished yet, but I believe I'm good in that department. Thanks for the heads up though.

[zombievictim]

Originally posted by the dead one


Zombie, I like the ‘Walking Dead’ story, your utilization of the news media misrepresentation of what is really happening hits the bulls eye. Considering the way things are in today’s social and political atmosphere, it only makes perfect sense. I can see the ‘Romero’ influences here; I have always been attracted to stories with strong conflicts and dark turmoil.



Well since I know your such a Romero fan I know you'd love this story. I have quite a bit of positive reviews from people I've sent it to who I just know online and they like it.

X, I realize what your trying to do with your story and it does sound interesting in parts and confusing in other parts. Just keep writing and finish it (you read part of mine now its time for you to return the favor:D )

[Kanadian_kev]

Well, I might be a little different because every script I write I intend on filming. I am always conscious of how it will look on film, whether it's remotely possible to achieve (in Canada, you keep your exteriors to a MINIMUM, seriously), and if it's going to be fun for the actors to play. With film, I find it really really helps to know what the actors go through. If a scene can't engage an actor, it doesn't matter how cool the idea is, it falls on its face. Anyways, besides all that technical crap, I pretty much focus on writing a good story.

First of all there's genre, the broadest term, and I'm lucky to know what mine is. Some writers don't even know who the hell they're writing for and their stuff is a mess. There's always exceptions, of course.

So I write horror stories, and I know that means they have to be scary. I see so much scary stuff in every day life that nobody seems to notice, and I just jot all that down. I find the whole idea of a 'boss' or a 'leader' kind of creepy. It's one mind and it is in control of all these others, and they will do as he says. I think of Hitler and just shiver, but I'm also thinking about how so many other people in everyday life act like that.

That's my idea, it is the core of the entire story. If the viewer is gonna leave the theatre with ANYTHING, it is that one idea, and hopefully they talk about it and think about.

The rest of the story I basically just try to drive that idea home, without actually saying it. I stick to the three-act structure because I think it makes the perfect story. I plot out the very basic stuff, like the major turning points, and then I come up with characters that might somehow arrive at these points. I also watch a SHITLOAD of movies and study where the act breaks occur and stuff like that, I think it helps.

I am always keeping in mind that the film must be visual. Roger Corman knew that to get to a person's brain (in a film), you had to go through their eyes. I don't follow the 'cut to a new location after 3 pages' general rule though. If I were writing for somebody else, I might consider it. I just think that faces and performances can tell the story so well that you should be able to shoot it pretty much in one location. Different locations definitely add a whole lot to the film, but sometimes I've been accused of staging too much in one location. That's also because I'm cheap though.

Also I try to write scenes as if they were short films that build and build and then climax and push the story towards its own ending. The script I'm shooting in a few months is about this deprived hobo who learns to control people through hypnosis and attempts to change his environment. Since nobody ever ever wants to hear about the world of the happy people (especially in a horror story) the people under his control plot against him and destroy him. That's the story, but it's how everything happens to these guys, the details, that makes it so cool I think.

[countchocula]

It's interesting that some of you find dialogue to be difficult to write. For me, it's the easiest part. I just use what I hear day in and day out. As long as your dialogue doesn't sound like dialogue, you're okay (unless it's supposed to sound like dialogue).

I have a ton of scripts and projects in my head, but I only tackle them one at a time. I won't work on anything else until the script I'm currently writing is finished. If I get bored, I'll just take a break from it. Masturbation helps. Seriously. It clears the mind and allows you to focus more. If you think I'm joking, try it. I usually can't write anything unless I've already masturbated that day. I know how insane that sounds, but it's true.

I'd like to see someone put that in a screenwriting guide book.

[zombievictim]

Dialogue is definitely a strong point for me. Whenever people read my scripts they always comment on the dialogue. They say its great and that makes me proud. This is really something that I don't have a problem with.

[Servo]

What I like about your werewolf story, X, is that you seem to take a more spiritual approach to the werewolf lore, which is something I've never seen. The idea of Numen is really cool and I hope you keep at it, it sounds like something that could really work if you put a lot of time and a lot of concentration into it.

When I come up with an idea, it usually happens in my car while I'm listening to NPR. I live in a fairly small city in South Florida called West Palm Beach, in Palm Beach County. All of my horror ideas take place here, because there's so many diverse sections of the county, you can find different types of characters everywhere. So here's everything I've come up with recently (It's a muddled mess so beware)

There's a pretty interesting history behind the founding of Palm Beach. It was founded by a wealthy industrialist named Henry Flagler, and his house is found on the island of Palm Beach, right over the bridge from where I go to school and my apartment.

Palm Beach, in my stories, is going to be an epicenter of supernatural and paranormal activity. There's also a secret society, which was founded by the first pioneer of Palm Beach (I won't make it Flagler, out of respect of the true founder - he was a cool guy), and made up of the wealthiest patrons of the island of Palm Beach. Everything that happens in the island, sort of trickles down into West Palm Beach, which is pretty much downtown West Palm Beach (the other side of the intracoastal).

I don't have time to share all the stories that take place in this setting, but I'll get to them later.

[X-Nightcrawler]

Originally posted by Servo
What I like about your werewolf story, X, is that you seem to take a more spiritual approach to the werewolf lore, which is something I've never seen. The idea of Numen is really cool and I hope you keep at it, it sounds like something that could really work if you put a lot of time and a lot of concentration into it. Thanks, since it's my favorite concept, I'm definitely keeping at it, but it be a real bitch to write without hitting the audience with all these bizzare events they won't get, and I don't want to fill with exposition and have some dude explaining it all to the audience. Sadly, I'm just done with act I, which is everything until the lead enters Numen and sets the big bads after him. I'll put it up in SimplyScripts when done.

[adamjohnson]

Hey I even made a couple of posters for Numen without understading the plot!

My script has been a bitch. The Crimson Kiss.

http://i16.photobucket.com/albums/b14/AdamtheJohnson/CrimsonKissSig.jpg

Think Maltese Falcon meets Dracula. Ive been doin a seriously heavy rewritem but ive been hung up on school and unable to write the last few months. But Ive started again and back ot my usual five pages a day.

Everyone seems to like the concept. Vampire/Film noir. Visually, the two styles blend so well Im surprised it isnt done more. Im just taking it to the Nth degree, and it shows in my seriously moody rich writing.

For a lot of this script Im keeping the vampire in the shadows, using red herrings and treating him like some mob boss to the police tokeep his real evil hidden. Its working great, but its extremely difficult at the same time. Set in the forties, you always have to be conscious of the time period, and the dialogue has been some of the most impossible, but most fun, ive ever written.

DAVID
(callous) Yeah, I know how it is. And now I know where I stand too. Finding that corpse in that alley shook me up and you boys come in here trying to rope me and crying foxy but it's alright now, now that I know you're just 'doing your job.'

Ive sort of rolled vmapires and werewolves into one creature, and it shows with a very American Werewolf in London rampage through the streets of forties Chicago in the climax.

The good news is my vampire is a tragic figure. He was sort of played by the femme fatale, she pulled his strings. And now hes out for revenge. She made him feel human again, and he hates himself for it. Whenever he kills, it's to feed. We even see him weeping after a feed at somepoint - the logic is that hes just a man with an uncontrollable urge - which harkens back to th eprotagonists alcohol problems, and the femme's greed and trust issues.

Im on page 80 of the rewrite (frist draft on simplyscripts) and i dont know where its going to stop.

And lets not forgot my NEXT impossible writing endeavor.

http://joblo.com/forums/showthread.php?s=&threadid=91627

[syxxpac]

I'm currently in the midst of writing the third and final instalment of my Biohazard Trilogy, currently at the thirty or so page mark, though I'm not going to post it in this forum just yet. So instead, I thought I would just give a taste of what's to be expected, with the opening scene, a dream sequence that starts rolling the whole theme of "nightmares" that our poor, unfortunate heroine has to contend with, and how HER nightmares don't go away when she opens her eyes (for those familiar with the game/book, you know they get MUCH worse later on...). Anywho, here 'tis:

FADE IN:

EXT. FOREST - DAY

Cloudy. Misty. Surreal. Lush, verdant foliage obscures visibility.

The sound of heavy, panicked breathing gradually fades in. At the same time comes the distinct sound of running feet tearing through the underbrush, branches whipping against cloth.

A lone figure - JILL VALENTINE, 23, fine-boned, beautiful - is revealed as the runner, dressed in her infamous S.T.A.R.S. gear.

She frantically darts a look over her shoulder, eyes wide and haunted.

She scans the foggy forest behind her, then snaps her attention forward again and keeps on her unseen path, arms and legs pumping in unison.

Leaves whip at her face. Branches SNAP under her feet. She turns to look back again and slows, winded. Comes to a wheezing halt.

The woods are silent. Still. She's alone, but she looks around feverishly, that haunted look still pasted on her face-

FOOTSTEPS. Heavy. Plodding. They approach from a distance, somewhere in the woods. Behind her.

Jill's eyes widen further as the sound of trees being torn aside echoes back to her through the mist.

She takes off again, more frantic than ever. The footsteps seem to get closer no matter how fast she runs. It is gaining.

Jill veers to the right. Plunges deeper into the woods. Visibility near impossible now. Nothing but trees, trees, and more trees.

She breathes heavier and begins to hyperventilate as she throws another terrified glance over her shoulder.

JILL
No... please...

The thing behind her continues its pursuit, more ardent now. No sounds emanate from It.

Jill runs, and runs. And runs. She's breathing so heavily now that she may go into cardiac arrest-

Suddenly, she bursts into a CLEARING covered with tall grass. She makes a mad dash for the dark copse on the other side.

Another frenzied look over her shoulder. The forest behind her is still now. No pursuit, and her face shows a marked relief as she nears the shadowy foliage. Closer. Closer.

She's almost there and she turns to look in front of her-

SHLUK! She stops on a dime, and stands shocked for a lingering beat, staring ahead in disbelief. Blood drips onto her boots. Her eyes roam downward and see-

A massive, CLAWED HAND buried in her gut, its owner unseen within the shadows.

Jill's mouth opens, her consciousness fading, and she looks up at her killer.

JILL
No...

She's slowly hefted into the air as the claws' owner takes a giant step out of the woods, moving gradually into the dull gray light-

TYRANT. A humanoid monstrosity. Its heart pulses outside its chest, its lips ripped away, left arm longer than the right and tipped with three foot claws currently buried inside her. A brief glimpse of the freak is all that's seen, then-

INT. JILL'S BEDROOM - DAY

Jill sleeps on her side, dressed in a white tanktop, left hand burrowed under her pillow-

She suddenly wakes, bolts up in bed and yanks a Beretta from under her pillow as she does.

JILL
No!

She aims her gun at the T.V. across the room faster than you can say "Pass the bullets."

Silence. The seconds tick away and sweat glistens from her every exposed pore, her gun shaking in her hand as she looks around her empty, neatly kept room.

Jill wipes a hand down her face, lowers the gun and takes a deep breath. She looks to the alarm clock, which reads "11:43 AM".

She glances out the window and notes the cloudy day in Raccoon City. The sounds of everyday life drift in, muted by the glass.

She sighs, runs another hand over her face, then gets out of bed, still shaken.

Granted, this is part of the first draft, and my first drafts suck anyway, so there's gonna be some rewrites in the future, of course. Unless one's a prodigy that can get it done the first time(yyyyeah. Good luck :p). I plan on posting the full thing in this forum as soon as I finish, see what juicy criticisms I can garner that will make this lil' trilogy cook on all cylinders.

But for now, comments are welcome on that little chunk, though it's not much, I know.

[adamjohnson]

I dont know about opening it with a dream sequence Syxx, (Thats SO cliche)

Why not open it with someone REALLY getting canned that way?

[syxxpac]

Originally posted by adamjohnson
I dont know about opening it with a dream sequence Syxx, (Thats SO cliche)

So is a cynical 40s-era detective ;)

[adamjohnson]

Originally posted by syxxpac
So is a cynical 40s-era detective ;)

You'll burn for that.

[syxxpac]

Originally posted by adamjohnson
You'll burn for that.

It DOES feel a bit toasty in here...

:D

[X-Nightcrawler]

Originally posted by syxxpac
So is a cynical 40s-era detective ;)

http://aggieballer.com/pictures/ME/shocked.jpg
Please tell me he didn't go there!

Anyways, while I'd normally agree with adamjohnson about a dream-sequence-that-ends-with-sweaty-and-panting-hot-lead opening a horror movie being pretty cliché, I thought it would work with this particular context. See, it ain't foreshadowing as much as it is Jill living with fear of the first Bio's events, which sets up the character nicely for what's to come for her.

Now, all right, I know this because I've read the first and second Biohazards, and because I'm all-knowing but I'd defend the opening sequence of Bio 3, which is turning out to be the best of the three (except the really long 'chaos' scenes which I think could be trimmed).

[adamjohnson]

Woot. My script is 150 pages, but its done bitches!

[adamjohnson]

Wow, I just realized.

In four days Ive written 70 pages.

damn.

[X-Nightcrawler]

Originally posted by adamjohnson
Wow, I just realized.

In four days Ive written 70 pages.

damn. That's a lot. I remember with Deja Vu, I was all with the speedin', wrote like 60 pages in two days. t0ta11y Xtreme yo. Anyways, congrats on finishing the script.

And, isn't "Woot" supposed to mean "We owned the other team"? Are you misusing leet language, adam?

[adamjohnson]

I dont know.


Whats leet for shut the hell up?

:D

[the dead one]

Here is a comic that I had the pleasure of being the inker(Carmen Imperato) on: Nightmark:Blood & Honor #1

Check out this link for the cover:

http://www.milehighcomics.com/cgi-bin/backissue.cgi?action=fullsize&issue=57419601386%201

This should be up your alley adamjohnson, a gumshoe detective batteling Celtic Vampires in the 30's!

[adamjohnson]

Damn And here I thought I was being SO original.

[X-Nightcrawler]

Originally posted by adamjohnson
I dont know.


Whats leet for shut the hell up?

:D "j00 da f\/ckin' |\/|An, X!!!11", I believe.

[the dead one]

Hey Adam, dont sweat it man---besides If you ever need an artist to collaborate on story boards, posters, whatever. I'd be more then happy to help out a fellow schmoe! :)

[adamjohnson]

Originally posted by the dead one
Hey Adam, dont sweat it man---besides If you ever need an artist to collaborate on story boards, posters, whatever. I'd be more then happy to help out a fellow schmoe! :)

Hey Ill take you up on that.

Ive had so many people flake on me. Are you a flaker?

[the dead one]

Originally posted by adamjohnson
Hey Ill take you up on that.

Ive had so many people flake on me. Are you a flaker?

I have been burned a few times myself, I hear ya!
Flaker? NO! I am 100% Professional...thats the bottom line.

I still have a few things in the works for Count Chocula and Frank White that I am finishing up---I owe these guys big time

Plus!!!

Keep an eye out on the 'Horror Artist Thread', because as of this post I am currently working on an illustration inspired by the Arrows upcoming film---'Painkiller', that I am going to post there very soon! :cool:

I'll let you know when... ;)

[syxxpac]

Originally posted by X-Nightcrawler
Anyways, while I'd normally agree with adamjohnson about a dream-sequence-that-ends-with-sweaty-and-panting-hot-lead opening a horror movie being pretty cliché, I thought it would work with this particular context. See, it ain't foreshadowing as much as it is Jill living with fear of the first Bio's events, which sets up the character nicely for what's to come for her.

I thought it was rather obvious, but I thank you for elaborating, sir. :p

Now, all right, I know this because I've read the first and second Biohazards, and because I'm all-knowing but I'd defend the opening sequence of Bio 3, which is turning out to be the best of the three (except the really long 'chaos' scenes which I think could be trimmed).

Yes, they were in need of trimming, so I've gone ahead and done that. I tip a nod to you for bringing that to my attention. I nixed what I felt was redundant (a few chunks of prose out of that particular "Zombie War" sequence that gets a little repetitive, even though it's no more than a page and a half, at the most. Not a big deal, really). Most of the stuff you've read is still there, but I don't think it's as long as you've made it out to be. The second act, which roughly starts on the 28th of September when Jill makes her escape attempt and our main UBCS characters are dropped in, is at the 28 or so page mark. A respectable number for a script that will probably total between 110 and 120 pages when I'm finished.

As for your observation about it being too long without adding any character development, I disagree. The first act is about Jill (as is the whole movie, really, but that's beside the point), and the gradual downfall of Raccoon City around her, which in turn affects her ie. diminishing hope, a guilty conscience over not being able to do anything about the outbreak when she knew it was gonna happen, that sorta thing. And since Raccoon City is a character unto itself (throughout the three scripts, actually), I felt it was important to convey that, as I only touched upon it briefly in the second. If you want a comparison, it serves the same purpose as the first act of the original Dawn Of The Dead, which showed everything falling apart around the characters, THEN focused on them and them alone in the second act and beyond. I know you HATE DOTD, X, but that comparison was for people who love that movie and wonder why I've done what I did in the first act, just to clarify ;) And on a more superficial level, it fills in some gaps from the second script. I hear Romero's The Crazies is similar to my plotting when dealing with the downfall of a town after an outbreak, though I haven't seen it.

Don't know if I articulated all that the way I intended, but there ya go. Aside from a few unnecessary bits in the "war" scenes that I snipped, it feels fine to me, and sometimes, instinct goes a long way. Can't please everybody, so we'll just see how it turns out in the end.

[syxxpac]

X has just informed me that the criticism he brought forth was that I could add in MORE character development, which never hurts, not that it was lacking. Not sure what I could put in that would add to what I've already established and that wouldn't just make it unnecessarily longer (the slight problem to begin with, yes?), but my apologies nonetheless to X for that slight miscommunication.

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Fine. Apologies to the Awesome & Godly One. Happy?

[X-Nightcrawler]

Originally posted by syxxpac
Apologies to the Awesome & Godly One. Happy? Good enough, pac. Good enough.